Al Pacino did not receive an Oscar nomination for portraying Aldo Gucci nor did Jared Leto, despite being nominated for a SAG and Critic's Choice award, for portraying Paolo Gucci in House of Gucci.
House of Gucci I find is a largely successful, though imperfect, film that follows ambitious social climber Patrizia (Lady Gaga) as she infiltrates the famous fashion house by marrying Maurizio Gucci (Adam Driver).
I think what might be a major factor in determining whether someone merely thinks this film is just okay, dislikes it wholly, or genuinely likes it, as I do, might actually come down to these two performances. I say that as these two performances most represent the film's particular shift into the more operatic and overtly extravagant, compared to Adam Driver's straight man turn, or Lady Gaga, who is generally praised, despite being more overt however as the lead has more internal monologue to grant us a more obvious depth within her flamboyance. Al Pacino, no stranger to epics about an Italian family's troubles with power and succession, plays the Uncle to Maurizio and the father to Leto's Paolo, and seems like someone who would've been cast before the film was even thought of. Pacino though isn't even remotely like Michael Corleone here, in fact he might in fact cause one to question why Maurizio has such a hesitation to join the family business, as Aldo represents the most direct business side behind the Gucci fashion company. Pacino very much plays into the Italian with a knowing glee, and more so emphasizes the rather inviting qualities within his character. Pacino plays this without sinister intent, right down to his first major scene where Aldo speaks to his brother Rudolfo (Jeremy Irons), who disowned his son and is adamant the company stays as it is. Pacino though brings a warmth even within the fraternal relationship, as he explains that he should embrace his son and embrace family.
Of course that is all in contrast, or so it seems, to Aldo's relationship with Paolo Gucci, who might as well be called Fredo Gucci, particularly as performed by one Jared Leto. Leto's performance here one might say defies logic, good taste, or just basic sensibilities of most things that make a good performance good with his choice in accent. Although to say any of the Italian accents in this film are accurate, is a stretch, though not really the intention with the tone of the film, however Leto's seems to consider less any reality of well reality, and rather considers the exploits of Mario the plumber, or should I say super Mario. "It's a me Paolo Gucci" isn't ever quite said, but it would have been quite fitting to the general choices of this performance. The question then to most people reading this would probably cause one to say "well why are you reviewing this performance then", well I will eventually get to that. And to be fair, though this is not the reason why I'm reviewing him, Paolo, as considered within this film, is supposed to stand out like the sorest of thumbs, considered the fool by all, and Leto certainly, if anything else, he is most certainly that. Leto might just be as ridiculous as many performances come, but you'd be wrong to say that you don't instantly understand his dynamic in his "Mamma Mia" expression as he gets hit in the face in a field of play as he attends his father's birthday. He is indeed Aldo's idiot if nothing else.
Anyways back to Pacino, who is a great actor and for anyone to question him as such is wrong, and therefore it is easier to always accept what he is doing is with intention. Of course whatever it may be that he is doing is always attempting to bring something to his films, even when it is the lowest of the low. House of Gucci is far from that, and I'll say the "train-wreck" descriptions of this film are honestly quite baffling to me outside of Leto's performance which again I'll get to the "why" around him. Pacino though while this is definitely a performance where he's playing into a bigger style, it isn't without purpose in fact it is with great purpose I'd say. In fact a few minor tweaks this would be a realistic performance, but that isn't really at all Pacino's intentions, and I'd say for the entertainment value of the film Pacino's choice was the better one. Pacino's performance though wholly works in expressing the man who, other than his son, loves to embrace the family and even more so has such a pride in the name of Gucci. Aldo has fun with the idea of Gucci and Pacino brings the sense of fun with the film, Gucci. I love the charm Pacino brings as the "fun" Uncle, who hits the right flirtation tone in his scenes with Patrizia, who has no ill intent but loves to adorn praise upon his pretty niece-in-law, as he's just as inviting to his nephew. Pacino is wonderful at being a showoff by playing the showoff that is Aldo. Aldo wants everyone to know he loves his life, son aside, and brings the right flamboyant flavor to each and every moment of "selling" the idea of his Gucci to all.
Of course the complications of the film ensure from Patrizia pushing her husband towards a greater ambition and poor Paolo and Aldo's tension is used as part of a point for manipulation. This coming from the belief that Aldo's guidance can only push things so far, which when confronted Pacino is excellent in the calm way he puts down the idea reminding all that Aldo is where all the wealth comes from. Pacino's delivery is terrific in that he shows an actual menace not by removing the warmth from Aldo's speech, rather just taking some of it away to show that the man's kindness has its limitations. Here's where Paolo comes into play and Leto's performance is that of a clown clowning around. This in his delivery that is absurd as he tries to show his wares to Rudolfo for praise instead receiving condemnation and his face fashioning the stubbornness of a misunderstood genius while being that of just actually the fool. Leto in these moments of the fool is wholly pathetic yet as the comical court jester kind of way. I'll admit I had these whiplash moments with this performance where for one second I just roll my eyes at that voice that Leto's doing, that it becomes actually kind of funny, then ridiculous again and it goes on and on like this. Although this isn't even in itself why I'm reviewing this performance, however that in itself is something, even if it is hard to exactly praise it, yet if it is entertaining and meant to be entertaining, one can't completely frown upon it, even if it seems like one should.
Where the plot thickens is as Patrizia and Maurizio manipulate Paolo in giving them info that will jail Aldo temporarily and at the very least kick him out of the head of the company. Here's where my defense must continue, and yes your honor, my client is guilty as hell of scenery chewing and overacting, but to that judge, I must say, what if it still works. Now your honor, I must contend that even within his Mario Mario accent or perhaps Luigi Mario, there is more genuine acting you can find within Leto's performance, and yes, subtlety, yes subtlety. When not speaking, there are moments of genuine expression of sorrow and concern for his father, even when throwing him to the proverbial wolves. It is here your honor that I have to reckon with this strange admission, which is as much as Leto makes Paolo a cartoon, I ended up caring about that cartoon in some strange turn of events I don't understand myself, but whatever Leto did, I can't say failed. The scene where Paolo's fashion show gets cancelled by Maurizio's lawyers or he has to admit he sold his shares to his father, I was honestly moved by Leto's performance to the point I couldn't quite explain it. When you hear the wail of Paolo, I felt sad, and to my own disbelief, the self-indulgent performer that is Leto somehow pulled it off. Not in a way I would recommend to anyone, but if it worked emotionally, well I can't criticize a performer at doing that, particularly when some how he did it while also being completely ridiculous. This performance defies reality your judge, and in that sense, it succeeds in breaking my own and some how leaves me praising Leto in this film...I didn't expect that to happen judge.
Now as much as I feel I've become a lobbyist for some nefarious group by endorsing Jared Leto's work here, I don't feel that at all for Pacino's work, which honestly I don't see what anyone dislikes about it other than if you get fixated upon his technically inconsistent accent. As I feel the strongest scenes of the film belong to him after Aldo is released from jail, and he and Paolo are these kind of lost souls dealing with the shambles of the former empire that Maurizio has stolen from him. I love the warmth that Pacino finally unabashedly shows as he and Paolo support each other out of jail, and there is this fatherly patience even as Paolo continues to be dumb. The biggest challenge of their relationship when Paolo reveals he sold his shares in the company, essentially making it so Aldo will be unable to reclaim it. Pacino's reaction is fantastic as it delivers both this realization that he's finished and anger towards his son, before so poignantly seguing towards embracing his fool even finding some genuine affection in delivering the line "You're an idiot, but you're my idiot". Pacino and yes Leto finding something truly moving in Aldo and Paolo finding love at the bottom, contrasting against Patrizia and Maurizio betraying each other once they reach the top. Pacino's final scene is the one that makes me a little baffled that anyone would consider this less than strong work from the great actor. This as Aldo must sign away his final shares to the corporate group who are aligned with Maurizio. Pacino is pitch perfect in the scene from the way he comments first on some old shoes of his gifted to the company head by Maurizio. Pacino is both penetrating in the description of the shoe, to reveal Maurizio's treachery, but also there is such a broken sense of pride in his delivery. The real dream is in the shoe and Pacino's delivery brings this sense of nostalgia even with this undercurrent of pain as the dream is but a memory. When still Aldo is forced to sign, Pacino's physical reaction is truly incredible as he shakes in clear complete despair at losing his family's company, but we see in his face a man just barely holding it together enough to get through having had his legacy stolen from him.
(Really in many ways me throwing my hands and having to give Leto something, as I am in no way certain that this is the appropriate rating, but Leto defies the scale just as he does the typical logic of reality)
